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The Creative Commons is a non-profit organization that allows the sharing and use of creativity and knowledge through free legÃtimo tools and explicitly aims for enabling a Remix culture.[25] They created a website that allows artists to share their work with other users, giving them the ability to share, use, or build upon their work, under the Creative Commons license.
Primarily because they featured sampled and synthesized sounds, Yello and Art of Noise would produce a great deal of influential work for the next phase. Others such Ganador Cabaret Voltaire and the aforementioned Jarre (whose Zoolook was an epic usage of sampling and sequencing) were equally influential in this Bancal.
Because remixes may borrow heavily from an existing piece of music (possibly more than one), the issue of intellectual property becomes a concern. The most important question is whether a remixer is free to redistribute his or her work, or whether the remix falls under the category of a derivative work according to, for example, United States copyright law.
A remix may also refer to a impar-linear re-interpretation of a given work or media other than audio such Figura a hybridizing process combining fragments of various works. The process of combining and re-contextualizing will often produce unique results independent of the intentions and vision of the innovador designer/artist.
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In the early 1990s, Mariah Carey became one of the first mainstream artists who re-recorded vocals for a dancefloor version, and by 1993 most of her major dance and urban-targeted versions had been re-sung, e.g. "Dreamlover". Some artists would contribute new or additional vocals for the different versions of their songs. These versions were not technically remixes, as entirely new productions of the material were undertaken (the songs were "re-cut", usually from the ground up). Carey worked with producer Puff Daddy to create the official Bad Boy remix of "Fantasy".[5] The Bad Boy remix features background vocals by Puff Daddy and rapping by Ol' Dirty Bastard, the latter being of concern to Columbia who feared the sudden change in style would affect sales negatively.
Many hip-hop remixes arose either from the need for a pop/R&B singer to add more of an urban, rap edge to one of their slower songs, or from a rapper's desire to gain more pop appeal by collaborating with an R&B singer. Remixes Gozque boost popularity of the diferente versions of songs.
Remix production is now often involved in media production as a form of parody. Scary Movie series is famous for its comic remix of various well-known horror movies such Ganador Ring, Scream, and Saw.
The Fair Use agreement allows users to use copyrighted materials without asking the permission of the llamativo creator (section 107 of the federal copyright law). Within this agreement, the copyrighted material that is borrowed must be used under specific government regulations. Material borrowed falls under fair use depending on the amount of flamante content used, the nature of the content, the purpose of the borrowed content, and the effect the borrowed content has on an audience.
The Bad Boy remix garnered positive reviews from music critics. "Fantasy" exemplified how a music sample could be transformed "into a fully realized pop masterpiece".[8] The song and its remix arguably remains Vencedor one of Carey's most important singles to date. Due to the success and influence of the song, Carey is credited for introducing R&B and hip hop into mainstream pop culture, and for popularizing rap Campeón a featuring act through her post-1995 songs.[9] Sasha Frere-Jones, editor of The New Yorker commented in referencing to the song's remix: "It became standard for R&B/hip-hop stars like Missy Elliott and Beyoncé, to combine melodies with rapped verses. And young white pop stars—including Britney Spears, 'N Sync, and Christina Aguilera—have spent much of the past ten years making pop music that is unmistakably R&B."[9] Moreover, Jones concludes that "Her idea of pairing a female songbird with the leading male MCs of hip-hop changed R&B and, eventually, all of pop. Although now anyone is free to use this idea, the success of "Mimi" [ref. to The Emancipation of Mimi, her tenth studio album released almost a decade after "Fantasy"] suggests that it still belongs to Carey.
In the 1990s, with the rise of powerful home computers with audio capabilities came the mash-up, an unsolicited, unofficial (and often legally dubious) remix created by get more info "underground remixers" who edit two or more recordings (often of wildly different songs) together. Girl Talk is perhaps the most famous of this movement, creating albums using sounds entirely from other music and cutting it into his own. Underground mixing is more difficult than the typical official remix, because clean copies of separated tracks such Triunfador vocals or individual instruments are usually not available to the public.
Remixes have become the norm in contemporary dance music, giving one song the ability to appeal across many different musical genres or dance venues. Such remixes often include "featured" artists, adding new vocalists or musicians to the innovador mix.
Kelly later revealed that he actually wrote "Ignition (remix)" before the purported innovador version of "Ignition", and created the purported original so that the chorus lyric in his alleged remix would make sense.[17] Madonna's I'm Breathless featured a remix of "Now I'm Following You" that was used to segue from the original to "Vogue" so that the latter could be added to the set without jarring the listener.
Deadmau5 wanted reimbursement for the remixes his manager made after they had severed ties, because he claimed it was his “moral right†to turn these future remixing opportunities away if he had wanted to. The two parties reached an agreement in 2016 that kept Play Records from making any new remixes.[18][19]
Verdun Remix